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Research paper thumbnail of The Poetics of Fire in Jean Giono’s Le Chant du Monde

Poetics of the Elements in the Human Condition: Part 2 The Airy Elements in Poetic Imagination, 1988

Much has been written on the power of fire. Fire imagery can be traced as far back as prehistoric... more Much has been written on the power of fire. Fire imagery can be traced as far back as prehistoric times. Bachelard notes that “in our conscious lives, we have broken off direct contact with the original etymologies. But the prehistoric mind, and a fortiori the unconscious, does not detach the word from the thing. If we speak of man as full of fire, it wills something to the burning within him.”1 Fire, for example, apart from its kindling, burning and metamorphic quality has been associated by the imagination, as Northrop Frye suggests, to the internal fire: “its sparks are analogous to seeds, the unity of life; its flickering movement is analogous to vitality; its flames are phallic symbols, providing a further analogy to the sexual act, as the ambiguity of the word ‘consummation’ indicates, its transforming power is analogous to purgation.”2

Research paper thumbnail of La Bréhaigne

Research paper thumbnail of Esanzo: Chants pour mon pays

World Literature Today, 1978

Research paper thumbnail of La vie derrière les choses

World Literature Today, 1986

Research paper thumbnail of Pirandello's Theater: The Recovery of the Modern Stage for Dramatic Art

Research paper thumbnail of Alléluia pour une femme-jardin

World Literature Today, 1983

Research paper thumbnail of Cheikh Hamidou Kane: L'aventure ambiguë ou l'aventure mythopoétique

Presence Francophone Revue Litteraire Sherbrooke, 1980

A partir de la these de l'inconscient collectif defendue par F. Fanon, et le fonctionnement d... more A partir de la these de l'inconscient collectif defendue par F. Fanon, et le fonctionnement de l'archetype, l'A. analyse le drame du heros de C. comme le drame universel du heros mythique transfigure et qui se plonge dans son propre monde subjectif. Lien entre l'inconscient collectif de Jung et la these de Senghor quant a la "civilisation de l'universel". Theme du voyage comme quete de l'individu et prise de conscience.

Research paper thumbnail of Jean Giono’s Le Chant du Monde: The Harmony of the Elements

Poetics of the Elements in the Human Condition: Part 2 The Airy Elements in Poetic Imagination, 1988

It was Giono’s ambition to write a novel in which man is one with nature. Every elemental force w... more It was Giono’s ambition to write a novel in which man is one with nature. Every elemental force would have a particular value and a particular voice stronger than that of the human characters. These voices join in an harmonious song in Le Chant du Monde.

Research paper thumbnail of The French Nouveau Roman: The Ultimate Expression of Impressionism

The Existential Coordinates of the Human Condition: Poetic — Epic — Tragic, 1984

In his Social History of Art Arnold Hauser claims that “Impressionism is the last valid European ... more In his Social History of Art Arnold Hauser claims that “Impressionism is the last valid European Style.” 1 A reappraisal of such a statement is in order, for it is essential to understand the method and goal of Impressionism before one can accept Hauser’s statement.

Research paper thumbnail of Robbe-Grillet'Sla Jalousieand the PhenomenologicalEpoché

Kentucky Romance Quarterly, 1975

Research paper thumbnail of On the Shores of Nothingness: Beckett’s Embers

Poetics of the Elements in the Human Condition: The Sea, 1985

Samuel Beckett’s constant struggle with the twentieth-century sense of loss and schizophrenia inv... more Samuel Beckett’s constant struggle with the twentieth-century sense of loss and schizophrenia invites the reader to an endless and even hopeless voyage through an open sea, only to find himself shipwrecked in an island where the only things moving are the silent waves breaking on the deserted and indifferent shore.

Research paper thumbnail of Phenomenology and the "Nouveau Roman": A Moment of Epiphany

South Atlantic Bulletin, 1973

... I1 n'y a d'art que pour et par autrui." "Qu'est-ce que la litteratur... more ... I1 n'y a d'art que pour et par autrui." "Qu'est-ce que la litterature?" in Situations II (Paris: Gallimard, 1948), p. 93. 2. Maurice Merleau-Ponty, Sens et non-sens (Paris: Nagel, 1966), p. 45. 3. Edmund Husserl, Meditations Cartesiennes, trans. ...

Research paper thumbnail of Tra presenza e assenza: Due modelli culturali in conflitto

Research paper thumbnail of Tribal Scars and Other Stories

Research paper thumbnail of Les longs soupirs de la nuit

World Literature Today, 1984

Research paper thumbnail of La casa vecchia

Research paper thumbnail of L'océan

Research paper thumbnail of Les écailles du ciel

World Literature Today, 1987

Research paper thumbnail of L'arrachement

World Literature Today, 1986

Research paper thumbnail of Beckett and Hegel: The dialectic of Lordship and bondage

Neophilologus, 1981

Hegel's "lordship and bondage" dialectic which he develops in PHE-NOMENOLOGY OF MIND as the diale... more Hegel's "lordship and bondage" dialectic which he develops in PHE-NOMENOLOGY OF MIND as the dialectic of self-consciousness has had, of course, a powerful social impact, largely through the interpretations of it made by Karl Marx and Lenin-interpretations that Jean Hyppolite and Alexandre Koj6ve, especially, have sought to justify-or at least excuse-through philosophical analysis and explications of the Hegefian text. But the social emphasis these "Marxists" lay upon the very pregnant Hegelian concept tends to distort it sufficiently to obstruct recognition of its purely psychological significance, and, with that, its most powerful implications-as I intend to show in this paper-for the interpretation of some of the most pervasive tendencies in existentialist drama and the modern literature of the absurd generally. We read in Camus' THE FALL: "Every man needs slaves as he needs fresh air. ''1 And again in THE REBEL: "The world can no longer be anything other than a world of masters and slaves because contemporary ideologies, those that are changing the face of the earth, have learned from Hegel to conceive of history in terms of the dialectic of master and slave."2 Those statements owe more to the Marxist social and more particularly CLASS readings of Hegel than to a literal phenomenological and psychological reading. For a literary impression of the latter, one does better, I think, to take up the "absurd" embodiment of the mind-world that Samuel Beckett offers us particularly in WAITING FOR GODOT and END-GAME, through which the theme very plainly runs like a golden thread. Yet, whether one interprets Hegel to be dealing with consciousness or the pattern of historical development, there is no denying human beings, as subjects, as "I's," are dependent on one another. One "I" needs another to be so much as aware of itself as "I". The reciprocal need for recognition, the "flight" to secure it, the victory for one and loss for the other that seems to result initially from the struggle-all of that, particularly as later developed by Schopenhauer and Nietzsche, has come to be almost universally recognized as the underlying reality of human condition. The thought has certainly been present to Rousseau for the articulation of the Social Contract model of human relations. As he very plainly says, more that a generation before Hegel: "A man thinks he is master of others, whereas he is actually more that a slave than they." And in his eighth Letter it is said even more plainly: "He who is a master cannot be free. ''3 What does Hegel's dialectic of the master/slave relationship really consist of? In the introduction to Hegel's PHENOMENOLOGY, Lichtheim directs us from history to psychology, saying :"Servitude is not only a phase of human history, it is in principle, the condition of the development and maintenance of the consciousness of self as a fact of expe

Research paper thumbnail of The Poetics of Fire in Jean Giono’s Le Chant du Monde

Poetics of the Elements in the Human Condition: Part 2 The Airy Elements in Poetic Imagination, 1988

Much has been written on the power of fire. Fire imagery can be traced as far back as prehistoric... more Much has been written on the power of fire. Fire imagery can be traced as far back as prehistoric times. Bachelard notes that “in our conscious lives, we have broken off direct contact with the original etymologies. But the prehistoric mind, and a fortiori the unconscious, does not detach the word from the thing. If we speak of man as full of fire, it wills something to the burning within him.”1 Fire, for example, apart from its kindling, burning and metamorphic quality has been associated by the imagination, as Northrop Frye suggests, to the internal fire: “its sparks are analogous to seeds, the unity of life; its flickering movement is analogous to vitality; its flames are phallic symbols, providing a further analogy to the sexual act, as the ambiguity of the word ‘consummation’ indicates, its transforming power is analogous to purgation.”2

Research paper thumbnail of La Bréhaigne

Research paper thumbnail of Esanzo: Chants pour mon pays

World Literature Today, 1978

Research paper thumbnail of La vie derrière les choses

World Literature Today, 1986

Research paper thumbnail of Pirandello's Theater: The Recovery of the Modern Stage for Dramatic Art

Research paper thumbnail of Alléluia pour une femme-jardin

World Literature Today, 1983

Research paper thumbnail of Cheikh Hamidou Kane: L'aventure ambiguë ou l'aventure mythopoétique

Presence Francophone Revue Litteraire Sherbrooke, 1980

A partir de la these de l'inconscient collectif defendue par F. Fanon, et le fonctionnement d... more A partir de la these de l'inconscient collectif defendue par F. Fanon, et le fonctionnement de l'archetype, l'A. analyse le drame du heros de C. comme le drame universel du heros mythique transfigure et qui se plonge dans son propre monde subjectif. Lien entre l'inconscient collectif de Jung et la these de Senghor quant a la "civilisation de l'universel". Theme du voyage comme quete de l'individu et prise de conscience.

Research paper thumbnail of Jean Giono’s Le Chant du Monde: The Harmony of the Elements

Poetics of the Elements in the Human Condition: Part 2 The Airy Elements in Poetic Imagination, 1988

It was Giono’s ambition to write a novel in which man is one with nature. Every elemental force w... more It was Giono’s ambition to write a novel in which man is one with nature. Every elemental force would have a particular value and a particular voice stronger than that of the human characters. These voices join in an harmonious song in Le Chant du Monde.

Research paper thumbnail of The French Nouveau Roman: The Ultimate Expression of Impressionism

The Existential Coordinates of the Human Condition: Poetic — Epic — Tragic, 1984

In his Social History of Art Arnold Hauser claims that “Impressionism is the last valid European ... more In his Social History of Art Arnold Hauser claims that “Impressionism is the last valid European Style.” 1 A reappraisal of such a statement is in order, for it is essential to understand the method and goal of Impressionism before one can accept Hauser’s statement.

Research paper thumbnail of Robbe-Grillet'Sla Jalousieand the PhenomenologicalEpoché

Kentucky Romance Quarterly, 1975

Research paper thumbnail of On the Shores of Nothingness: Beckett’s Embers

Poetics of the Elements in the Human Condition: The Sea, 1985

Samuel Beckett’s constant struggle with the twentieth-century sense of loss and schizophrenia inv... more Samuel Beckett’s constant struggle with the twentieth-century sense of loss and schizophrenia invites the reader to an endless and even hopeless voyage through an open sea, only to find himself shipwrecked in an island where the only things moving are the silent waves breaking on the deserted and indifferent shore.

Research paper thumbnail of Phenomenology and the "Nouveau Roman": A Moment of Epiphany

South Atlantic Bulletin, 1973

... I1 n'y a d'art que pour et par autrui." "Qu'est-ce que la litteratur... more ... I1 n'y a d'art que pour et par autrui." "Qu'est-ce que la litterature?" in Situations II (Paris: Gallimard, 1948), p. 93. 2. Maurice Merleau-Ponty, Sens et non-sens (Paris: Nagel, 1966), p. 45. 3. Edmund Husserl, Meditations Cartesiennes, trans. ...

Research paper thumbnail of Tra presenza e assenza: Due modelli culturali in conflitto

Research paper thumbnail of Tribal Scars and Other Stories

Research paper thumbnail of Les longs soupirs de la nuit

World Literature Today, 1984

Research paper thumbnail of La casa vecchia

Research paper thumbnail of L'océan

Research paper thumbnail of Les écailles du ciel

World Literature Today, 1987

Research paper thumbnail of L'arrachement

World Literature Today, 1986

Research paper thumbnail of Beckett and Hegel: The dialectic of Lordship and bondage

Neophilologus, 1981

Hegel's "lordship and bondage" dialectic which he develops in PHE-NOMENOLOGY OF MIND as the diale... more Hegel's "lordship and bondage" dialectic which he develops in PHE-NOMENOLOGY OF MIND as the dialectic of self-consciousness has had, of course, a powerful social impact, largely through the interpretations of it made by Karl Marx and Lenin-interpretations that Jean Hyppolite and Alexandre Koj6ve, especially, have sought to justify-or at least excuse-through philosophical analysis and explications of the Hegefian text. But the social emphasis these "Marxists" lay upon the very pregnant Hegelian concept tends to distort it sufficiently to obstruct recognition of its purely psychological significance, and, with that, its most powerful implications-as I intend to show in this paper-for the interpretation of some of the most pervasive tendencies in existentialist drama and the modern literature of the absurd generally. We read in Camus' THE FALL: "Every man needs slaves as he needs fresh air. ''1 And again in THE REBEL: "The world can no longer be anything other than a world of masters and slaves because contemporary ideologies, those that are changing the face of the earth, have learned from Hegel to conceive of history in terms of the dialectic of master and slave."2 Those statements owe more to the Marxist social and more particularly CLASS readings of Hegel than to a literal phenomenological and psychological reading. For a literary impression of the latter, one does better, I think, to take up the "absurd" embodiment of the mind-world that Samuel Beckett offers us particularly in WAITING FOR GODOT and END-GAME, through which the theme very plainly runs like a golden thread. Yet, whether one interprets Hegel to be dealing with consciousness or the pattern of historical development, there is no denying human beings, as subjects, as "I's," are dependent on one another. One "I" needs another to be so much as aware of itself as "I". The reciprocal need for recognition, the "flight" to secure it, the victory for one and loss for the other that seems to result initially from the struggle-all of that, particularly as later developed by Schopenhauer and Nietzsche, has come to be almost universally recognized as the underlying reality of human condition. The thought has certainly been present to Rousseau for the articulation of the Social Contract model of human relations. As he very plainly says, more that a generation before Hegel: "A man thinks he is master of others, whereas he is actually more that a slave than they." And in his eighth Letter it is said even more plainly: "He who is a master cannot be free. ''3 What does Hegel's dialectic of the master/slave relationship really consist of? In the introduction to Hegel's PHENOMENOLOGY, Lichtheim directs us from history to psychology, saying :"Servitude is not only a phase of human history, it is in principle, the condition of the development and maintenance of the consciousness of self as a fact of expe